Motorola Edge 60 Neo

I am the proud owner of the Motorola Edge 50 Neo and reviewed it here on my Blog Motorola Edge 50 Neo in 2024 and love/d the dinky little phone. Heck, I even declared it my Best Phone of 2024 in another enthusiastic post here on my Blog! So how on earth could Moto improve on this, I mused! Pleased to say that I can now tell you thanks to a generous review-loan of the Motorola Edge 60 Neo from MotoUK PR as part of the MOTOvator programme. They don't tell me what to write, nor see anything I do prior to publication. What you get here is my truth!

I've been using this device as my main phone now for about a week. As you can see from the first image, they're like two peas in a pod. Apart from the missing 'Pantone' badge on the back, the new one is physically identical to the old, as far as I can see. Which is actually not a bad thing because it's wonderfully pocketable and a great size in an ocean of 6.7" (and similar) phones these days. Capable small phones are becoming rare, so kudos to Moto for sticking with this form factor.

When I started to look at the spec-sheet, I did begin to wonder if anything meaningful had changed - and much like the recent Pixel 10a release from Google, with nothing much to talk about over the Pixel 9a - was I going to end up scratching my head as to the marketing motivation. So let's see what those changes are (on paper) before I give you my thoughts on the 'real world' changes.

But first, the obligatory unboxing! It's a very small white box, just big enough for the little phone to sit in, with an inner box holding the USB-C to USB-C cable, the usual bunch of papers, SIM Card Tray tool and a very nice (though slippery) colour-matched (in this case the same Pantone Poinciana orangey-red) and the usual odours from some sort of perfume shop! (There is one new colour this year - Frostbite, which is a kind of light green/minty-looking shade.) There's no charger in the box, which is fairly usual at this stage. The simple, clear, soft TPU case (a fiver from Amazon) I had for my Edge 50 Neo, as you might expect from the above, fits like a glove - further confirming that the shell of the phone here is identical. I do appreciate that Moto put a starter-case in the box for users to save them that fiver, but I almost always end up giving Amazon a fiver in order to get a simple, but grippy, soft TPU case. Other users/buyers might be completely happy with the supplied one here, but my hands always find these hard cases slippery.

In actual fact, the material on the back of the phone (that same Silicone Polymer - 'eco leather') is almost as grippy as my TPU - and really very nice to the touch. Without a case on at all, it's even more dinky of course and more lovely in the hand and pocket. They've added an IP6/9 rating to the ingress protection, it now has Corning Gorilla Glass 7i (over the 50 Neo's GG3) and retains the MIL-STD-810H compliance. GG7i is supposed to be better for shatter resistance over previous versions - to drops to the pavement survival - and for resisting micro-scratches too. The GG3 on my 50 Neo looks perfectly good to me, but then I do treat my phones very carefully, unlike many out there on building sites and beaches! But perhaps I shouldn't be so concerned about scratching/dropping it! It's slightly heavier by 3g which I'm putting down to the bigger battery, which is certainly a significant change.

There are two versions of this - if you get the South America unit it has a 5,000mAh battery, the Global one, 5,200mAh. This unit seems to be reporting 4,995mAh so maybe they sent me the former one. Either way, the battery hike is significant over the Edge 50 Neo's 4,310mAh. To be honest, I never had any issues with the Edge 50 Neo's battery - it would last incredibly well, as per my reports, linked above. But more is better, for sure - so it can last even longer! On testing the new model, I found that it was certainly lasting two days of my average use and my 10% Reading Test returned results of over 3 hours from 100% to 90% so I'm very happy. The same 68W wired charging (with compatible brick) is present as is 15W Qi wireless. Features that defy the phone's placing in the market. Zero to 100% in under an hour or to 50% in half-hour. Moto's blurb says that you can "power for the day in just 7 minutes". Meaning, real world, about 12 hours of mixed use as it gets you to about 30% charged.

I had thought that the Edge 60 Neo had the promise of 5 OS updates, the same as the Edge 50 Neo, but looking at Moto's UK website, it seems that maybe it's dropped to 4. I remain a little confused as to which it is and will try to seek reassurance that maybe the website has a misprint. Assuming that to be the case, yes - it's arrived on Android 15 so will get Android 20 and (presumably) Google Security Patching to October 2030 to match it. The Edge 50 Neo is the same, but obviously, one year behind on each of those now. The Edge 60 Neo (and 50 Neo) are still on Android 15 as I write, so as usual, Moto don't hurry with these things! But Android 15 is stable and fine, so no complaints. If I want bang up-to-date everything, I'll use a Pixel!

The chipset has been hiked up a notch to the Mediatek Dimensity 7400 (4nm) from 7300. This brings it more up to date, perhaps to service MotoAI, which is now included - so another change. The same is probably true for the increased RAM, up to 12GB from 8. It does feel a little more nippy around the UI, an incremental improvement, regardless of the MotoAI being used or not.

There are certainly more storage/RAM options available this time around - plenty of combinations (depending on region) up to 512GB/12GB RAM and down to 128GB/8GB. This one, as I say, has 12GB RAM and it's the 256GB version. I do think that this is probably the sweet spot in 2026 for most people, though basic users will no doubt still be happy with 128GB. The storage has been upped from UFS 2.2 to uMCP which is apparently more power-efficient, enables the phone to run cooler under load, slightly faster - to be honest it feels pretty much the same to me, but then I'm not a heavy gamer or video recorder/editor - and I suspect that the vast majority of buyers/users of this phone won't be either. But another incremental improvement can't be bad.

The MotoAI then, yes, is a difference. The 50 Neo didn't have any of this (outside of what was added to the camera and inside Google's tools) whereas the 60 Neo has the same suite as the, for example, Razr 50. So no dedicated physical MotoAI button like the Edge 60 Pro for example, but via software you can get to, and use, all the tools in the suite. I've published another Blog post here depicting the range of facilities and functions of MotoAI, so do click through. Maybe the Edge 70 Neo will add a hardware button.

I do, sadly, have to come to MotoBloat! I guess that it's the way OEMs these days get/keep prices down, knowing that in a short time the RRP will be undercut in retail, so doing deals with App developers and software houses. You can see why - and most people will just ignore it all, not even know it's there or just accept that this is how the modern world is. However, what is good here, for the likes of me, is that for those who are bothered by it, it's pretty much all uninstallable. So 20-minutes of tinkering and it can be abolished! Here's a list though - Adobe Scan, Opera Browser with VPN, Booking, Perplexity, Microsoft Copilot, LinkedIn, Amazon Music, Facebook, Instagram, a Games Folder (can be disabled), loads of childish games during setup - some forced on, some can be denied, Temu, Pinterest, PDF Reader and Suggestions in App Tray (can turn off in settings). Now, to be fair, many users/buyers might want some of this stuff and be pleased that it's on there by default - but it feels all a bit OTT to me.

Talking of the RRP, it started out at £379 in the UK (£20 cheaper than the 50 Neo on release - and with more RAM this time) but I have already seen it on Moto's UK website for £299 (and even £269 at one point). So it becomes, despite the above, terrific value for money.

One of the things I like very much about Moto is that they continue to go their own way while other OEMs are bending over backwards to sheepishly copy what Apple are doing. Example here being the battery percentage readout. It's really annoying that other OEMs are going with the figures inside the icon which, in some cases - looking at you Samsung and Nothing - make it illegible with anything other than a 4-year old's eyes. They say that these changes are coming with 'base Android' and it's Google's fault - well, clearly that's not true if Moto can still do their own thing with the Status Bar. And I do have other Moto devices here on Android 16 and again, retained. Well done Moto. Also, when selecting a Widget - even Google for Pixel have now adopted this one - their own widgets (or suggested ones) on the first panel, then you have to swipe left to get to the usual list of widgets. Small, but annoying. An Apply style App-gathering overview or whatever it's called. Some are offering this as an option, so fine, but some forcing it. This, after Apple users themselves had say that it's confusing and crap. Well, kudos to Moto, I say, like Sony Xperia - sticking to what they think is the best and ignoring the fads. Well done.

The best surprise for me was that the speakers are markedly improved. And I thought the speakers' output on the 50 was very good indeed. Somehow they have made these louder and clearly better quality output. Tested with YouTube Music, same track and also with my own 320kbps .mp3 files too. This is a real surprise and for me, that's almost worth the upgrade alone. It seems that the 7400 chipset has processing power that the 50 Neo didn't, being Hi-Res Audio certified meaning that the internal DAC supports higher bit depths. So more dynamic range regardless of any acoustic improvements inside the body of the phone due to component changes. Hopefully all that means something to audiophiles - but for me, I'm delighted that the sound output is even better. Bluetooth has been hiked from v5.3 to 5.4 but I'm not convinced that I'd notice the difference. BT works beautifully well with all the peripherals I have here.

The optical fingerprint scanner on the Edge 50 Neo, over time, felt as though it was becoming not so good as it was at the outset. When I first bought it, I didn't feel that this was the case, but now having set up this new model, I can tell the difference. I don't know if that is something that naturally deteriorates over time as more and more data is being background-processed, but here it is also faster and more reliable. Maybe to do with the hiked chipset or yes, perhaps because freshly set up. Even if this 60 Neo does go the same way, what's great is that the face unlock works beautifully so in most lighting conditions, by the time the finger gets anywhere near the screen, you're in anyway! No complaints really, but it will be interesting over time if it needs retraining or resetting in the same way.

The Always on Display works as well as the 50 Neo - all present and correct, supported by the whole Peek Display thing, nice and bright - and unlike the Razr models with recent updates, doesn't kick-down a notch when it thinks it's not needed to be so bright. Long may the brightness remain, when there's such a good battery that the LTPO screen really doesn't impact. The screen, incidentally, is exactly the same (aside from the GG7i) as the older unit. It's capable of 3,000nits and is bright, colourful and vibrant - like most Moto P-OLED screens are. The refresh rate is the same at 120Hz, same 6.36", 20:9 and 460ppi. A joy to use, especially at that dinky size. The AoD is one of, if not the, best one out there at the moment. You get a big 'hollow' clock and underneath it the day, date and weather icons. Towards the foot of the screen there is a row of Notification icons (which behave much like Peek did), a fingerprint scanner and battery percentage readout. When a notification comes in, the 'hollow' clock fills itself in so you can see the difference. So that's a big and developed feature.

There's no HDMI-Out here, for 'tis the modern way for everyone to go wireless, but I can report that wireless works really well with TV or PC here under the Smart Connect Moto software. It's really cool to use and I think now better than DeX, since Samsung stripped out the Windows software and compatibility. Smart Connect is by far the leading system in the phone world and runs rings around the likes of Microsoft's Phone Link or the BBK Group's link-up software. The phone can, 100% be run from my Windows PC and whatever I want to send to my SmartTV or Roku, off it goes and does it. No latency - it just works (with a decent home network of course). Copy/paste, cross-control of mouse, keyboard - file management, multiple devices - it needs to be experienced to appreciate. Long may they continue to invest in this system.

The cameras on the phone are exactly the same as they were on the 50 Neo, a 50MP f1.8 main shooter, a 3x Zoom camera on the secondary and close-up shots with the wide-angle lens are excellent with the auto-focus in attendance - and even the Selfie is the same 32MP. I have no complaints, again, for the average demands of the average user in the photography department. For a deeper dive, click through on my links above for the main review of the 50 Neo - it really all looks/feels the same to me.

Needless to say (but I will anyway!) the phone works beautifully with my other Moto peripherals like the excellent Moto Watch Fit, Moto Buds+ (my reviews linked for each) and the Moto Buds Loop (which I have yet to review).

So, probably much like my previous writings, I ask what could be better. Last time I asked for something better than GG3 - fixed. A 3.5mm audio-out socket - a tall-order for 2026! A microSD Card facility - well, as I said earlier, 256GB really is the sweet spot for most. An UltraSonic (or capacitive) fingerprint scanner, I cried! Well, there's not either of those but, as I said above, I do think it feels better in use. A 68W TurboPower charger in the box? Yes, same applies - EU regulations or not, it's one way that OEMs are clearly keeping down the cost to consumers. I also appealed for no bloat - well, we don't have that - but at least it's all uninstallable and doesn't seem to come back at every security (or I'm assuming) OS update.

Was it worth it, is the question. Well, for me it was as it's a loan unit! But the question for me is that when it goes back, will I buy my own. The two things which might twist my arm - well, no, three - are the clearly better-sounding speakers, the (even) bigger battery and the price. As someone who already has the last generation model in-hand, with 5 OS updates and security to 2029, it's a big ask. If I didn't have the 50 Neo but had the chance to play with the 60 Neo for the first time, then yes - I certainly think that I would buy it. So upgrade, maybe not (at least the price comes down a bit) but new-user, who favours a dinky little phone with all the above Moto goodness, yes - for sure. Highly recommended. Plenty more discussion on this, and other phone-related exploratory adventures with Joe Hickey and I on our weekly/fortnightly audio podcast, the Phones Show Chat and in video form on Joe's YouTube Channel, Screen On Time.

Send Help (2026) - A Guest Review by Chad Dixon

This is a survival horror thriller film, co-produced and directed by Sam Raimi. Starring Rachel McAdams as the dowdy but highly efficient and completely unappreciated office worker, Linda Liddle. On a day at work where the new CEO, Bradley Preston (Dylan O'Brien), takes over from his father (the man who built the company), Liddle is expecting that a promise made to her by the old man will now be honoured.

So, after seven tough years, she hopes that she will finally be rewarded with the promotion she most definitely deserves. However, Preston disappoints her by brazenly giving the aforementioned promotion to his old fraternity buddy, Donovan (Xavier Samuel), who has only been with the company a few months.

Liddle is incandescent with anger and storms into the CEO’s office to remonstrate against the decision, but Preston ignores her protestations. Although he is impressed enough by her bravado and knowledge of Liddle’s analytical strengths, he asks her to accompany him and a few of the other senior executives on an upcoming, crucial business trip to Bangkok. Still seething, she slinks off home.

A few days later, they are all onboard the company’s Learjet on their way to Thailand, and Donovan shows the other guys a video he’s found online showing Linda’s audition for a TV reality survival show. Seated, she looks up from her work laptop as all the execs start laughing and looking at her. Suddenly, the aircraft gives a massive jolt and the Captain’s voice over the tannoy instructs everyone to sit down and belt up.

Seconds later, a catastrophic explosive decompression rips open the side of the fuselage, and the strapped-in Linda witnesses Donovan and a couple of other executives get sucked out into the night. The plane, with engines on fire, then ditches in the ocean. Liddle gets herself free and watches helplessly as the aircraft quickly sinks beneath the waves. The next morning, she wakes up face-down on a tropical-looking beach and seems to be OK. She immediately starts looking for other survivors and, moments later, a bit further down the same beach, she discovers her boss, Preston, unconscious with a badly cut leg.

This film initially presents as the start of a classic office rom-com and McAdams plays the role well - a meek but hard-working corporate strategist working under an attractive but extremely arrogant male boss. However, her demeanour changes dramatically as the narrative moves to the desert island. All of her fascination with survival TV shows kicks in, and the invalid Preston is now totally reliant on her for his survival.

Knowing that Sam Raimi is behind this project, you know there’s a good chance of some visually bloody moments and, in the third act, that gory style kicks in with a vengeance - there were some occasions that made me wince! Otherwise, there are some chuckle moments and quite a few gross-out scenes that produced the most laugh-out-loud events in the cinema.

The tropical island they are stranded on is, of course, a major character too and always looked authentic. Even the obviously CGI wild animal they encounter looked well done. With no other notable performances to mention here, the main two leads acted their parts very well and spent the vast majority of the film together. As tempers frayed, they both upped the tempo believably, especially when things got extremely fraught. The ending was a bit predictable, though, but it was an enjoyable 1 hour 54 minutes spent on a rainy weekend afternoon.

From FOMO to JOSH: Why Staying In Is the New Going Out!

A friend of mine told me that he'd paid £6.80 for a pint of lager last week. A couple of weeks ago I got a stinking cold for the first time in 18 years through contact with one person who spends most of their time out and socialising. It got me thinking. I never go out unless I have to. Nor do I want to. Home is comfy and great. Is that wrong, I mused. So went a-hunting...

Move over, night on the town

There is a new cultural shift taking over and it has a name: Indoorphins. Whether you’re looking to save a few quid or just your sanity, staying in is no longer seen as boring - it’s a prioritised lifestyle choice. In fact, a recent survey found that 72% of people now prefer entertaining friends at home over hitting the red tiles.

The Rise of JOSH (Joy of Staying Home)
For years, we were plagued by FOMO (Fear Of Missing Out). Now, we’re embracing JOSH. This shift isn't just about being antisocial, it’s a calculated move toward comfort, wellness and financial prudence. With 61% of people preferring the comfort of their own four walls, the reasons are clear.

Financial Freedom
No more expensive beers, inflated venue prices or taxis.

Intimate Connections
Swap noisy pubs for themed nights, gaming sessions or dinner parties where you can actually hear your friends speak and don't have to shout. Or put cotton wool in your ears at the ludicrously-loud cinema!

The Indoorphin Rush
That feeling of pure bliss when you realise that you have zero plans and a 100% controlled environment.

It’s Not Laziness, it’s Self-Preservation
Choosing to stay in is often a response to a world that is increasingly loud and overstimulating. For introverts, creatives and those prone to burnout, the home acts as a restorative sanctuary.

Nervous System Reset
Home allows your body to recover from loud noises and social cues.

Control and Comfort
You are the DJ, the chef and the lighting technician. Being able to set the mood reduces anxiety and provides a sense of safety.

Deeper Thinking
Quiet environments foster introspection, allowing space for hobbies and personal growth that public spaces simply don't offer.

How to Master the Art of Staying In
If you’re ready to embrace your inner homebody, here is how to do it...

Avoid the Guilt
Reject the social pressure that says you must be out to be living. There is no 'right' way to spend your time if you are happy and fulfilled.

Create Your Haven
Invest in your space. Whether it’s specialised lighting, cozy seating or a killer kitchen setup, make your home a place you actually want to be.

Selective Socialising
When you do decide to leave the house, make sure it’s for something you truly enjoy, not just an obligation.

Check Your 'Why'
While staying in is healthy, do a quick internal check. Ensure it’s because you find it restorative, rather than a symptom of burnout or social anxiety.

Germs and Bugs and Crappy Air
Keep away from them as much as possible! Busy social environments are rife with cross-breeding of germs. Covid taught us this, and before that, the smart 'masked' Japanese folk!

The Bottom Line
As long as you feel energised and happy, staying in isn't just a trend - it’s a valid, healthy preference for the modern age. So it's official - it's not just because I'm an old fart and have 'done all that when I was younger'!

(Credit to Gemini for some of this.)

Keeper (2025)

We join Osgood Perkins' (The Monkey, Longlegs) horror in the company of Liz (Tatiana Maslany) and her boyfriend Malcolm (Rossif Sutherland) as they head towards a secluded cabin in the woods to celebrate their one-year anniversary. Liz is hopeful that, sometime soon, he is going to pop the question!

He is a doctor in the city and she, an artist. They seem to be a loving couple, though he is a tad more guarded than her when it comes to natural expressions of affection. We stay with them as she explores the house, which belongs to him but which she has never visited before. She is fascinated by the nooks, crannies and character of the artistic building.

As the evening progresses, we start to see one or two cracks in their relationship. She is clearly not too happy with some of his conversational remarks, but the evening is washed down with plenty of wine and all seems well. There is a chocolate cake in a box on the kitchen table. Malcolm encourages her to have a taste, explaining that the 'housekeeper' always bakes it for his arrival, even though Liz insists she doesn't like chocolate.

Just at this point, there is a bang on the door. Malcolm’s cousin, Darren, who lives nearby in another cabin, turns up with an attractive young woman - a foreign model who speaks virtually no English. They have a quick drink before Darren and his friend leave Malcolm and Liz to it. When the men are out of the room, Minka, the model, looks sideways at the cake and then back at Liz, telling her that it "tastes like shit". Liz is taken aback but cannot get anything more out of Minka before they depart.

Liz has a mouthful of the chocolate cake to be agreeable, takes a bath and they go to bed. During the night, Liz heads to the kitchen, devours a huge handful of the cake and returns to sleep. In the morning, Malcolm announces he has received a message from a patient at death's door and must do the professional thing and visit. He says he will be back - presumably this being the Saturday of the weekend - by 6pm. While he is gone, Darren turns up with a bottle of whisky. Surprised to find Liz still there, he invites himself in and tries to persuade her to have a drink with him while they wait for Malcolm’s return.

And that is just about all I can tell you without entering spoiler territory. It becomes a slow-burn arthouse horror after this, reminding me of the approach adopted in Men (2022) and other smart, thoughtful horrors. The thrills are brought about not by silly jump-scares but by unsettling spooks, atmosphere, imagery and tension - of which it has bucketfuls! The house itself is very much a main player in the story, as Perkins maximises the cinematography to wring out every drop of suspense through camera angles, light, shadow and suggestion. It works incredibly well and feels very Hitchcockian.

So, let the story unfold from here - which it does at a slightly speedier pace once the first third of the film is over - as we find out exactly what is going on, what has happened in the past and deep-dive into a series of sinister events. There is a superb finale that pulls all the strings of the tale together, with twists, turns and surprises along the way. I think the imagery here is the real winner, though the performances are great as well, especially Maslany in the lead. Well worth a look and streaming now in the UK on various platforms. Recommended for fans of smart, not silly, horror!

Nasty webOS!

Coming from a path through Psion and Windows Mobile (laying aside the awful PsiWin), I was used to functional density and working from a ‘file-first’ management system, rather than the ‘guided’ experience brought about by (particularly) Apple and Palm/webOS. It felt like moving from a ‘proper computing’ (near desktop-like, enjoyed since DOS) workstation to more of a ‘toy’ environment. I was used to clunky task and file management, not the ‘card-like’, almost ‘childish’ feel of webOS. It felt claustrophobic and I didn't feel in control as I had been used to. The slow and imprecise flicking away of ‘cards’/apps had more the feel of a Speak & Spell machine (though not literally, obviously) rather than the granular control I was used to (and still am).

I liked Windows, DOS and Psion’s granular control. I wasn't ready yet for this new-fangled way. I had given Google and Gmail a pass since 2004 because everything could be run on the desktop, with a keyboard and mouse, in the way I was used to operating. No mobile phone with a tiny screen was going to meet my needs - and, to a large degree, they still don't. Not even the minuscule keyboarded devices. Phones to me were, and are, very secondary devices to how I function. By a huge margin, the vast majority of my ‘computing time’ is in front of my Windows PC. If I have to use a phone, it's a second-rate experience compared to the one I prefer - huge screen, proper keyboard, precise input devices. So much easier. But yes, Android went the same way in the end, to a point where every OEM it seems is copying the horrible (in my view) Apple/Palm/webOS thing. Symbian Series 80 was usable, S60 with the E90 was there too, but even then, it was drifting away. I still, always, wanted my desktop experience which I had been using since about 1986.

Some people seem to feel the need to minimise for the sake of it. Some because they can, some because they need a ‘mobile’ solution and many because they just want to see what tech can do. Look at Shane Craig as an example - he works from home and by his own admission (and clear practice) everything is much easier on a big screen and full-size keyboard with a mouse. But no, he wants to push the boundaries of split-screen multitasking and folding tablets into phones - which, unless one has to (or is interested in tech for tech’s sake), is stacked full of compromises. Which brings us back to webOS - pocket devices that feel like they were bought in Toys R Us, Apple's iOS, and then, yes, Android. As I say, everyone is just copying each other, making the ‘mobile computing’ experience dumbed-down and accessible to non-geeky, non-nerdy people just to flog hardware.

I realise that, as a user of Google services, this now sounds like a contradiction, but the same applies. I constantly try to find ways of controlling my Google apps and services from my desktop PC. Google are generally good at that, with browser-based echoes of most of their services (with a few exceptions, like Journal and Screenshots just now). This means I can get to my desk and do what I want, see the screen (not squint at it) and type like a pro (well, maybe not quite a ‘pro’)!

I reject the whole ‘search’ thing, too - like swiping down then typing to find an app, relying on the system to find it. No doubt it does, as it does for Apple and webOS, but I want to be in control of that. I want to know where the app shortcut is, and use it. It is the same mentality as knowing where stuff is on my PC and being organised. Perhaps that's the point - the Apple/webOS philosophy accepted that people weren't (or didn't want to be) organised and methodical. For the person on the street, that was likely true. So the opportunity was there to make a fortune on the ‘it just works’ claptrap, leaving geeks and nerds to be content with (now) Ubuntu Touch, Sailfish and other non-mainstream solutions. But I'm drifting away from the point again!

WebOS was one of the first to embrace the idea that you should never have to ‘plug into a computer’ to update or back up. For those of us used to ActiveSync, PsiWin or Nokia PC Suite, this felt like black magic - or rather, losing control over one's device hardware. I liked hierarchical, file-based interaction. I like my big monitor, keyboard, and mouse. I didn't want finger-based gesture control. I like having access at the registry level of Windows. I liked what Psion did with that, what Windows Phone did with that and what Symbian Series 80 did with that. Then, it slid away in lieu of mass-market appeal and financiers making as much cash out of (dumb, uninterested in what's under the bonnet) Joe Public as they can. It was a masterstroke (well, not for webOS, as it happens) for Apple, and increasingly Google, with Microsoft sadly being left behind in the mobile space. It was the RIP of the wonderful control under Symbian and Psion.

WebOS was one of the first ‘human’ OSes. It didn't feel like a computer shrunken down into a pocket - which is what I would have liked - but rather a new category of device (from which Apple and Android stole directly). Hated it. Still hate it. I hate what Apple does, I hated what webOS did, and I don't particularly like what Android does in terms of the pocket device. But until I'm brave enough to embrace the likes of Ubuntu/Sailfish and accept the inherent compromises, it's the best thing on the table for me. Much as I hated the whole Windows 10 Mobile thing and the clunky ‘live tiles’ front-end, at the moment, I think I might still prefer it. And lastly, Palm devices were tiny! Presumably if they had kept going (in any meaningful way) today's Palm devices would by now be much bigger, but looking back, you'd need a child's hands and eyes.

WebOS for me is in the same league as iOS - a dumbed-down UI, not for geeks/nerds who want granular control (on device). I'm coming from the place where I started in 1986 with my IBM PC/XT, a Psion and Sony Ericsson in my pocket - and dial-up CIX. Great days!

Women Talking (2022)

This is a powerful psychological drama pulled together by director/writer Sarah Polley, working from the novel by Miriam Toews. The film’s tagline - "Do Nothing. Stay and Fight. Leave." - depicts the harrowing plight of a group of women in a story that lingers long after the credits roll.

Toews’ novel is a 'fictional response' to real events that occurred between 2005 and 2009 at the Manitoba Colony in Bolivia. In that horrific real-life case, eight men were eventually convicted of raping over 150 women and girls, using a bovine anaesthetic spray to knock the victims unconscious. Here, the story is transposed to a secluded, conservative Mennonite colony, circa 2010, focusing on the systemic power and control men exert over women.

For years, the women have woken up bruised and bleeding, only to be told by the men that their injuries were the work of ghosts, demons, or 'wild female imagination'. The truth is that the men have been physically and sexually abusing them under the cloak of religion, weaponising the fear of eternal damnation to ensure compliance. When one man is caught mid-assault and names his accomplices, the men of the colony travel en masse to a local town to bail him out. They leave the women with a cruel ultimatum - forgive the attackers within two days or face excommunication and no afterlife!

Most of the film takes place in a hayloft where three families debate their future. Salome (Claire Foy - H is for Hawk, My Son) is fuelled by a righteous rage after her daughter is attacked, Ona (Rooney Mara - Nightmare Alley, Carol, Una), pregnant by her rapist, seeks a philosophical and peaceful way forward and Mariche (Jessie Buckley - Wicked Little Letters, Men, Fingernails, I'm Thinking of Ending Things) is cynical and fearful, trapped in an abusive marriage. They eventually realise that 'staying and fighting' would only exacerbate the violence, while 'doing nothing' is no longer an option.

This is where the powerhouse performances truly shine. As they debate the pros and cons, they engage the services of a scribe, August (Ben Whishaw - Fargo). August is the boys' teacher, deemed 'weak' and subservient by the other men following a previous excommunication involving his mother years prior. Because the women have been forbidden from learning to read or write for generations, August becomes the silent witness to their revolution. While the men are some distance away, the tension remains high. There is a constant, looming threat that they could rock up at any moment looking for their pleasure.

The film is a deliberate slow-burn, but the time flies due to the sheer quality of the acting as Polley effectively traps the audience in the hayloft with the women. The cinematography is particularly striking as the dry and dusty location is rendered in a way that feels almost like black and white. In the loft at night, the subdued lighting allows for lovely shadow-play and tight focus. By staying close to the faces of Foy and Buckley, the camera catches every micro-expression - a quivering lip, a flared nostril or an unshed tear.

Frances McDormand produced the film and plays a small, pivotal role as Scarface Janz, an elder too fearful of the unknown to join the debate. It is also a Plan B project, from Brad Pitt’s production company, but the final shout-out must go to Icelandic composer Hildur Guðnadóttir (of Joker fame), whose score provides a haunting backdrop. Women Talking wasn't a film I initially jumped at - largely due to the heavy religious themes - but I am glad I did. It is a deeply moving, essential piece of art/work and recommended.

Encounter (2021)

Michael Pearce’s film begins as a gritty, extraterrestrial survival thriller. However, all is not quite as it seems. When the (Nevada) desert dust settles, the film strips away the sci-fi elements to reveal a devastating psychological drama. What starts as a mission to save humanity quickly transforms into a desperate attempt to save a father from his own fracturing mind.

Riz Ahmed (Fingernails) plays Malik, a father of two young boys. Having served as a Marine for many years, he hasn't been around much and the film uses science fiction to explore the reality of his untreated PTSD. He arrives one dark night and snatches Jay and Bobby from under the noses of his ex-wife and her new partner. The film then becomes a road trip. Malik is taking the boys to a 'safe place' to avoid what he claims are microscopic aliens infiltrating the bodies of half the population.

It is a poignant portrait of a decorated veteran let down by the system upon his return to the USA, with his trauma-based mental health problems left unaddressed. We tag along on what Malik considers a rescue mission, becoming embedded in his delusion. Over time, only the older boy, Jay, begins to perceive the reality of his father's condition.

About halfway through, the truth becomes obvious to the audience too, as the emphasis shifts. We are introduced to Hattie, a professional who has been trying to help Malik settle back into civilian life - and a team of FBI agents. Having realised what has happened, the authorities begin tracking him down, fearing - based on similar past cases - that Malik might kill the boys and then himself. Hattie doesn't believe this to be the case so is fighting the FBI for a more passive intervention within which everyone can survive.

As the journey continues, Malik’s behaviour becomes increasingly erratic and violent. He gets into a punch-up with a police officer and assaults an old man while searching for car keys following a blowout. The old man's sons - who lack the FBI's code of conduct - give chase, leading to further violence while the two lads are caught firmly in the middle. As Jay realises the truth, he becomes fiercely protective of his dad, though he remains initially largely powerless to intervene meaningfully.

The story becomes a question of survival. What will become of Malik and the boys - and who will reach them first - the officials or the armed locals? By this stage, everyone is prepared for a violent outcome. Throughout the chaos, Malik genuinely has his sons' interests at heart, clinging to his conviction of an alien invasion until the very end. Because we cannot 'see' the aliens, the theme reflects how society is often blind to the invisible struggles of mental illness.

Riz Ahmed’s performance is great. He plays the troubled soul convincingly, sweeping us along through his swings between a devoted father and a violent protector. The two boys are also excellent - particularly Lucian-River Chauhan as Jay, though Aditya Geddada also effectively conveys Bobby’s fear and incomprehension. Octavia Spencer (Hidden Figures, The Help) commands her scenes as Hattie, providing a grounded counterpoint as the film moves at pace from a character study into a police chase.

The cinematography is sweaty, claustrophobic and beautifully executed. While the storyline is ambitious and the tone intrusive, the constant buzzing and humming in the audio mimics Malik’s deteriorating mental state. Encounter is a thought-provoking, well-produced film that is well worth a look. It is currently streaming on Amazon Prime Video in the UK.